“Black Mass” gives you a glimpse inside the life of a mass murderer and executes it in an interesting, suspenseful and clever way. Most white children being bused refused to go. The 1977 Boston Globe article-seen in the movie with Bulger on the cover-was actually about both Bulger’s and Flemmi’s roles as informants.
Peabody memorabilia dealer Phil Castinetti has vowed that the shirt – bearing what is represented as Whitey’s autograph – is legit and was obtained from a former inmate at the Plymouth jail who said he was held in the same unit as Bulger.
The virulence of that shocking remark suggests the tone and the import of the conflict in South Boston at the time. Even during the parts that took place during Christmas, the film managed to bring a sense of uncertainty and darkness looming overhead. Black Mass has the acting.
“Other than living with Mr. Bulger for that number of years, she has done nothing wrong in her life at all“. Moments later, he begins revealing everything he knows about Jimmy “Whitey” Bulger in exchange for a reduced sentence. While his performance as Dillinger was lackluster – possibly due to direction – his portrayal of Bulger is nothing less than chilling.
There are certain supporting performances in “Black Mass” that hit beautifully – Julianne Nicholson and Peter Sarsgaard are wonderful. It’s a movie that has neither psychological insight nor behavioral flair nor a unified aesthetic tone. While this may not be the ideal entertainment film simply for its lack of a strong, compelling climax and its unredeemed carnage, it is probably one of the most disturbing crime movies of the decade and is definitely worth seeing at least once.
Senate President William M. Bulger, left, around 1985, and Benedict Cumberbatch in Black Mass (2015). It could have pulled off a runtime in the Scorsese gangster movie tradition of “Goodfellas” (146 minutes), “The Departed” (151 minutes) or even the epic “Casino” (178 minutes). “This is just harassment and she is not going to cooperate with them”.
Instead he has developed a suitably intimidating and creepy character as Bulger. The ending is also quickly swept under the rug and Bulger’s fugitive status is only addressed in titles passing by on the screen.
This gestalt-of crime, blunder, obliviousness, and heartiness-that formed around Whitey Bulger is depicted by Cooper as so unreal, so unbelievable, that he costumes and cosmeticizes and directs Bulger and his henchmen as grotesques. But, the title made me think of the dark corners of the city, in the river, where they’ve killed and disposed of so many people. Insane Heart and Out of the Furnace filmmaker Scott Cooper delivers his finest film, one that feels like the year’s first real Oscar bait. Harbour’s broken agent John Morris is pitiful and heartbreaking; Jesse Plemons is fierce and magnetic as one of Bulger’s brooding cronies; as another, Rory Cochrane is alternately scary and deeply moving (and officially unrecognizable from his stoned-sweetheart days as Slater in Dazed & Confused). Sienna Miller had been slated to play Greig in the movie, but director Scott Cooper told media outlets he had to cut her scenes and the role of Greig because “it came down to narrative choices”.